But since the point of his character design is to distinguish him from his classmate & friend Isa, the incongruous design is forgivable. Particularly the teen boy character Toshiya looks like he belongs in an entirely different manga because his character design style is so unlike every other character in the manga. Careful examination of the art reveals some odd discrepancy in design. As is frequently the case with Korean illustrators, the artwork is filled with deep, heavy textures, expansive shadows, and frequently staggering visual detail. Korean illustrator Boichi’s graphic art is characterized by a stylized realism that evokes some parallels to the art of Ryoichi Ikegami, Oh! Great, Takehiko Inoue, and Hiroshi Takahashi. So the manga injects moments of gag humor to trick readers into associating more than one expression and emotion with each character. But emphasis on rushing the story development ahead also compromises opportunities for complex character development.
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The fact that they’re unaware that they’re the target of a sinister religious cult’s obsession partially justifies their limited emotional expression. Luna and her two male friends are largely one-dimensional characters that never express fear, anxiety, or sadness. A subtle but appreciable weakness in the writing is the lack of complex characterizations from the main cast. Particularly the first volume has a somewhat incongruous tendency to inject visual gag humor, partly to lighten the story’s oppressively grim tone, and partly to add depth to the core characters. The dialogue feels natural given the number of characters in the story and the complexity of the tale. The manga is relatively dialogue heavy but not frequently excessively expository. The core cast of characters is small, and each character is given ample introduction time to allow each character to become distinctive and significant to the story. The manga subtly suggests that just as the characters that surround Luna view her differently, readers may also perceive her as a demon or an angel depending on their personal perspective. Luna Hazuki is distinctly the series’ protagonist, but after two volumes, the reader still can’t tell whether she’s an angel or a devil. The second volume begins to reveal more overt clues yet still plays coy with definitive answers, which may fascinate some readers as much as frustrate others. Most of the first volume depicts Luna fortunately stumbling into safety, keeping her supernatural character in reserve.
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The mystery is both intriguing and frustrating. But at the end of two books, readers still don’t know anything about Luna’s true nature.
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The story also projects an endless torrent of threats toward Luna ranging from paranoid stalkers to a powerful underground religious cult to literal supernatural beings. Masao Yajima’s story moves quickly but unfolds slowly, transitioning Luna from an innocent child to a high school girl, Nevada to Tokyo, and from one family to another in a flash.
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As the body count rises, the day when the ultimate fulfillment of Luna’s supernatural bargain will unfold marches closer, and no one seems to know if that cataclysmic day will spell ascension or apocalypse. Perhaps by godly design or fate, Luna is saved from tragedy, or the people around her suffer for their relationship with her, due to her childhood pact with a heretical angel. The first two volumes of Raqiya introduce readers to Luna Hazuki, a Japanese teen girl who maintains an optimistic and cheerful disposition despite having survived not just one but two tremendous “accidents” that have left her the only survivor of her family.
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Writer Masao Yajima & illustrator Boichi’s 2008 manga series Raqiya: The New Book of Revelation takes a more prominent than typical approach to adapting Biblical concepts for its own ends, resulting in a tense, provocative action manga for open-minded mature readers. Despite Japan not being a predominantly Christian country, Scripture has inspired numerous Japanese manga artists as well, including Kaori Yuki’s Angel Sanctuary, Kazue Kato’s Blue Exorcist, Daisuke Moriyama’s Chrono Crusade, Kent Minami’s Angel Para Bellum, and Nanae Chrono’s Vassalord, to name a few.
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Biblical history and esoterica have been subject to literary adaptation for centuries, from Milton’s 1667 dramatization of the fall of Lucifer to modern novels and movies like Left Behind and Legion and Dogma.